Painted Sprinkler - ADC.182, Origin: Central Asia, Circa: 10 th Century AD to 12 th Century AD, Dimensions: 11.22" (28.5cm) high, Collection: Islamic Art, Medium: Earthenware.

Painted Sprinkler - ADC.182, Origin: Central Asia, Circa: 10 th Century AD to 12 th Century AD, Dimensions: 11.22" (28.5cm) high, Collection: Islamic Art, Medium: Earthenware.   « Less

Glass Bottle - JB.1365, Origin: Central Asia, Circa: 8 th Century AD to 9 th Century AD, Dimensions: 3" (7.6cm) high x 2.16" (5.5cm) wide, Collection: Islamic Art, Style:  More »

Glass Bottle - JB.1365, Origin: Central Asia, Circa: 8 th Century AD to 9 th Century AD, Dimensions: 3" (7.6cm) high x 2.16" (5.5cm) wide, Collection: Islamic Art, Style: Blown Glass, Medium: Glass.   « Less

Painted Ewer - ADC.183, Origin: Central Asia, Circa: 10 th Century AD to 12 th Century AD, Dimensions: 7.28 " (18.5cm) high, Collection: Islamic Art, Medium: Earthenware.

Painted Ewer - ADC.183, Origin: Central Asia, Circa: 10 th Century AD to 12 th Century AD, Dimensions: 7.28 " (18.5cm) high, Collection: Islamic Art, Medium: Earthenware.   « Less

Glass Bottle - JB.1370, Origin: Central Asia, Circa: 9 th Century AD to 10 th Century AD, Dimensions: 2.36" (6.0cm) high x 1" (2.5cm) wide, Collection: Islamic Art, Style:  More »

Glass Bottle - JB.1370, Origin: Central Asia, Circa: 9 th Century AD to 10 th Century AD, Dimensions: 2.36" (6.0cm) high x 1" (2.5cm) wide, Collection: Islamic Art, Style: Mould Blown Glass, Medium: Glass.   « Less

Glass Bottle - JB.1371, Origin: Central Asia, Circa: 9 th Century AD to 10 th Century AD, Dimensions: 2.36" (6.0cm) high x 1" (2.5cm) wide, Collection: Islamic Art, Style:  More »

Glass Bottle - JB.1371, Origin: Central Asia, Circa: 9 th Century AD to 10 th Century AD, Dimensions: 2.36" (6.0cm) high x 1" (2.5cm) wide, Collection: Islamic Art, Style: Mould Blown Glass, Medium: Glass.   « Less

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most  More »

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most of the country. They are largely Buddhist, and their language and customs are closely related to the Thai and Laotians their neighbors to the south and east. In the 19th Century, long after their power had eroded, they were distributed among thirty petty states that paid tribute first to the Burman King, then to the British. This arrangement remained more or less in tact until 1922 when the Federated Shan States were joined together. In 1947, a unified Shan States was created under the Burmese Constitution. Although much of their autonomy has been relinquished to the central government, the Shan retain their unique cultural identity and ethnic heritage.This specific type of Buddha, which is unique to Myanmar in the oeuvre of Buddhist art, is know as the Subdoer of Jambhupati. The flamboyant headdress with wing-like flanges that crowns the Buddha’s head is the hallmark of this type, which became particularly popular from the late 18th Century onwards. Although the Buddha wore only monastic robes, his luxurious adornments can be explained by an ancient legend recorded in Pali texts. A powerful king named Jambhupati once threatened to annex the neighboring territory of King Bimbisara, who was a friend of the Buddha. Buddha sent his follower Sakka to bring forth King Jambhupati before him for admonition. Meanwhile, the Buddha miraculously commanded a magnificent palace to be constructed in one night and he took his seat upon a jeweled throne dressed in splendid robes. When Jambhupati was brought in to meet him, he was so overwhelmed by the wealth and power of the Buddha that he renounced his kingdom and became a monk.Poised on a large lotus throne in the characteristic seated virasana position of meditation, this stunning bronze sculpture of the Buddha as the Subdoer of Jambhupati emanates a remarkable spiritual beauty and force that is timeless in its ability to move the beholder as it once moved the tyrant King. Each graceful hand forms a mudra, the mystical ritual gestures that signify various powers. The right hand is in bhumisparsa mudra, the gesture of fearlessness, while his left hand is in dyana mudra, the gesture of meditation. Elaborate ornamentation decorates the Buddha’s body, including bracelets and a beaded necklace, and an elaborate crown with undulating flanges and a towering central peak surrounded by flame-like appendages. The treatment of the flanges is somewhat unique in Buddhist art and has its closest counterparts in the Hindu Chola bronzes of Southern India. With his softly modeled facial expression and ethereal body gestures, this sculpture of the Buddha gives us the sensation of his dramatic power and mystical serenity that once converted King Jambhupati. Such a complex and masterful work of art is truly a glorious experience to behold. - (FZ.295)   « Less

Noted for her extreme kindness, Guanyin is an ancient Boddhisattva. In the Buddhist religion, Boddhisattvas are beings who have attained enlightenment, but renounce the goal  More »

Noted for her extreme kindness, Guanyin is an ancient Boddhisattva. In the Buddhist religion, Boddhisattvas are beings who have attained enlightenment, but renounce the goal of nirvana, a state characterized by freedom from pain, suffering, worry and the external world. Instead these benevolent Boddhisattvas minister eternally to relieve the suffering of all creatures, like archangels, passing from the remote heaven to the world of men. Indeed, this sculpted marble image of the head of the Boddhisattva Guanyin emanates an otherworldliness that bespeaks of spirited compassion and kindness. The Burmese artist who created this sculpture captures through skillful carving a beautiful image, her serene face radiating devotion and tenderness. As we behold this sensitive work of sculpted art we are at once elevated to a height of aesthetic and spiritual awareness that transcends the earthly boundaries of mortal man. - (PF.2539)   « Less

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most  More »

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most of the country. They are largely Buddhist, and their language and customs are closely related to the Thai and Laotians their neighbors to the south and east. In the 19th Century, long after their power had eroded, they were distributed among thirty petty states that paid tribute first to the Burman King, then to the British. This arrangement remained more or less in tact until 1922 when the Federated Shan States were joined together. In 1947, a unified Shan States was created under the Burmese Constitution. Although much of their autonomy has been relinquished to the central government, the Shan retain their unique cultural identity and ethnic heritage.The face is framed by a slightly raised hairline and by the rather large ears. Pigment was used to highlight essential features, principally the black pupils and thin black lines to distinguish the eyelids. Arching eyebrows are also delineated in black, while the nose is small and 'fleshy' in appearance, and the red lips are depicted as very delicate with a hint of a smile. The serenity associated with Buddha is here beautifully depicted, offering the viewer an immediate sense of inner peace. - (PF.5152)   « Less

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most  More »

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most of the country. They are largely Buddhist, and their language and customs are closely related to the Thai and Laotians their neighbors to the south and east. In the 19th Century, long after their power had eroded, they were distributed among thirty petty states that paid tribute first to the Burman King, then to the British. This arrangement remained more or less in tact until 1922 when the Federated Shan States were joined together. In 1947, a unified Shan States was created under the Burmese Constitution. Although much of their autonomy has been relinquished to the central government, the Shan retain their unique cultural identity and ethnic heritage.This specific type of Buddha, which is unique to Myanmar in the oeuvre of Buddhist art, is know as the Subdoer of Jambhupati. The flamboyant headdress with wing-like flanges that crowns the Buddha’s head is the hallmark of this type, which became particularly popular from the late 18th Century onwards. Although the Buddha wore only monastic robes, his luxurious adornments can be explained by an ancient legend recorded in Pali texts. A powerful king named Jambhupati once threatened to annex the neighboring territory of King Bimbisara, who was a friend of the Buddha. Buddha sent his follower Sakka to bring forth King Jambhupati before him for admonition. Meanwhile, the Buddha miraculously commanded a magnificent palace to be constructed in one night and he took his seat upon a jeweled throne dressed in splendid robes. When Jambhupati was brought in to meet him, he was so overwhelmed by the wealth and power of the Buddha that he renounced his kingdom and became a monk.poised on a large lotus throne in the characteristic seated virasana position of meditation, this stunning bronze sculpture of the Buddha as the Subdoer of Jambhupati emanates a remarkable spiritual beauty and force that is timeless in its ability to move the beholder as it once moved the tyrant King. Each graceful hand forms a mudra, the mystical ritual gestures that signify various powers. The right hand is in bhumisparsa mudra, the gesture of fearlessness, while his left hand is in dyana mudra, the gesture of meditation. Elaborate ornamentation decorates the Buddha’s body, including bracelets and a beaded necklace, and an elaborate crown with undulating flanges. The treatment of the flanges is somewhat unique in Buddhist art and has its closest counterparts in the Hindu Chola bronzes of Southern India. With his softly modeled facial expression and ethereal body gestures, this sculpture of the Buddha gives us the sensation of his dramatic power and mystical serenity that once converted King Jambhupati. Such a complex and masterful work of art is truly a glorious experience to behold. - (FZ.433)   « Less

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most  More »

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most of the country. They are largely Buddhist, and their language and customs are closely related to the Thai and Laotians their neighbors to the south and east. In the 19th Century, long after their power had eroded, they were distributed among thirty petty states that paid tribute first to the Burman King, then to the British. This arrangement remained more or less in tact until 1922 when the Federated Shan States were joined together. In 1947, a unified Shan States was created under the Burmese Constitution. Although much of their autonomy has been relinquished to the central government, the Shan retain their unique cultural identity and ethnic heritage.The historical figure, Buddha Gautama Sakyamuni is the Buddha of compassion who, having achieved the highest evolutionary perfection, turns suffering into happiness for all living beings. Born around 560 B.C. somewhere between the hills of south Nepal and the Rapti river, his father was a Raja who ruled over the northeastern province of India, the district including the holy Ganges River. The young prince was married to Yashoda when he was about 17 years old and together they had a son named Rahula. At the age of 29, he left his life of luxury, as he felt compelled to purify his body and make it an instrument of the mind by ridding himself of earthly impulses and temptations. The decoration adorned upon this marble bust of Buddha reveals its sacred nature. His half-closed, downward looking eyes that depict his serene state of being, further reinforced by his sweet smile. He also features a large pointed ushnisa, or bump, at the top of his head that symbolizes his divine enlightenment. The shape of this bump has been modeled after a typical Burmese stupa, the standard of religious architecture for Burmese Buddhists. Remnants of the original polychrome highlights survive intact, including the red lips and black eyebrows. The general appearance associated with the Buddha characterizes him partly as a noble human being and ideal ruler and partly as superhuman. The elegance and spirituality of the Buddha is well conceived in this work. - (X.0222)   « Less